By Ingrid Monson
The African Diaspora provides musical case reports from a variety of areas of the African diaspora, together with Africa, the Caribbean, Latin the United States, and Europe, that have interaction with broader interdisciplinary discussions approximately race, gender, politics, nationalism, and track.
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Additional resources for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
Audiences are also responsible for whether the music reaches the next level. They, too, have to bring something to the performance. In addition to knowledge of the music’s history and the work of individual performers, Wilson (1995) feels that they must be willing to listen attentively and to respond to musical events: It’s kinda like…in a sense going to church, you know, as they say, “You have to be ready to receive,” you know….
The ritual itself crystallizes some of the most essential values of African Americans with regard to survival and daily living. Ellison is also careful to divorce his explication of the functions of the blues from one that simply equates them with protest. ”7 More than Baraka, Ellison delves into the nature of that ritual by exploring its larger implications. In short, each performance helps each individual performer to negotiate his or her identity vis-à-vis other musicians, the larger community, and the history of the music: [T]rue jazz is an art of individual assertion within and against the group.
S. Negro lifestyle. (58; emphasis in original) Like Baraka and Ellison, Murray is concerned with the multivalence of the blues. They work not only on the level of musical form, technique, or style, but also on the level of prevailing ethos, as an approach to dealing with the exigencies of daily life. Or put more simply, what works in the context of musical performance is extensible to the performances that are our daily interactions with other people, institutions, and situations (cf. Goffman 1959).